Henry Keazor «Up and Atom!» Superheroes in The Simpsons
I. Introduction
It is generally agreed that the cartoon series The Simpsons is an often sarcastic, ironic and biting distorting mirror of contemporary Western society. Originally created in 1987 for a series of short films in the context of the Tracy-Ullmann- show by Matt Groening and then, in 1989, decisively developed as an autono mous 30 minutes show by Groening, James L. Brooks and Sam Simon, «America's most dysfunctional family» (as the Simpsons have been often hailed), takes up issues and topics not only related to current political and social discussions, but also to art, literature, music, theatre and popular culture. They have managed to be more than «simply a commentary on culture but an intervention into culture,» as John Alberti has put it.1 As the highly self-referential title-sequence makes clear, the media, especially television itself, play a decisive role: the opening sequence culminates with an image of the entire family gathering before the television set. The importance of this moment is even enhanced by the fact that the whole sequence is built out of a mix of on the one hand each time recurring elements and of, on the other hand, new ones, changing almost every time. Thus, the succession of scenes depicting how the family members leave their different duties at school, at work or shop ping, are interspersed in each and every episode with variations. These alter ations to the main substance of the opening sequence include 1) the blackboard lines of the son Bart Simpson, which always hint upon his offences, earning him this punishment, 2) daughter Lisa Simpson's saxophone solo, provoking her dis missal from the school orchestra and, 3) especially, the so-called «couch gag» which emphasizes the moment the family gathers in front of the TV set by presenting each time a variation on how and despite which obstacles the family manages to take their seat on the sofa. Moreover, the suggestion is that the Simpsons apparently watch their own show since it is the title of the cartoon which appears on the screen of their TV: we not only watch the Simpsons, but that we actually watch The Simpsons with the Simpsons - a fact not only acknowledged e.g. by Jonathan Gray's study Watching with the Simpsons, 2 but also confirmed by the writer and producer Al Jean: «Some of the most creative stuff we write comes from just having the Simpsons watch TV.» 3 In fact, very often the above mentioned themes and topics - such as politics and culture - are introduced via television or put into a more or less direct rela 1.2011 tion with it (for example when the question, if, despite its shocking nakedness, Michelangelo's David should be exhibited in the Springfield Art Museum, is dis berichte cussed in a TV show).
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It is interesting in this context to see which characteristics these superheroes have: in a for The Simpsons typically quick camera pan across the comic book store (the series invites its audience to view and review its episodes with the remote control in hand in order to stop at particular moments and discover all the seemingly unimportant details), we get a good overview of the comic books on sale. It hereby becomes obvious that the imagination of the comic book indus try in creating new heroes is limited to the increasingly absurd variations on the combination of humans with the surrounding flora and fauna (ill. 1): Birdguy, Cat- girl, DogKid, Snakekid, The Human Bee, Treeman, Mr. Hop and Iguana Lady clearly show that their creators are simply and in the most uninspired way only varying the model introduced in 1939 by Bob Kane and Bill Finger when presenting Bat man , a superhero who dresses up in a bat-costume and, like its heraldic animal, only gets active in the night, as well as Stan Lee's and Steve Ditko's Spiderman from 1962, who in a certain way took Kane's and Finger's concept verbally and at the same further by presenting a hero who not only calls himself after an animal in order to hint upon certain of his characteristics in crime-fighting, but who ac tually - via a bite from a radioactive spider - got some of the capabilities and skills of a spider (such as great strength, climbing up walls etc.). The apex in this respect was certainly the introduction of the Animal Man in 1965, a superhero (created by author Dave Wood and artist Carmine Infantino) with the power to absorb the capabilities of every nearby animal,10 topped only by supervillain The Animal-Vegetable-Mineral Man, introduced already in 1964 by author Arnold Drake and artist Bruno Premiani, whose body could transform into any mis matched combination of elements. 1.2011 Michael Chabon (a big admirer of The Simpsons who also appeared in the series as himself in 2006), in his Pulitzer Price winning novel The Amazing Adven berichte tures ofKavalier & Clay, published five years after the Radioactive Man-episode in 22 kritische Henry Keazor «Up and Atom!» psons, Husbands and Man) Person were - tending Likewise, roes the merely title more plotting book mal, but themselves) they not in thinking Thus, the try «by kick and ent sidered elements (ill. derided stands, (obviosuly 2000, superhero-creation sode order the the But But That That have or ber. flames If to 1) comic-book-business cover: either night also the finally Robin might hero, but come he's Three Jewish genre created, and or to, a they projects profit 13 actually zoo. even He at swap monster. the there's by a in question> the less these and heroes of a as like to of the or bandwagon in that (such could fight just girl) the ill. be modelled Chabon: up Men arrive Birds, who as the also Milhouse animals. is back the critique ice partners comic the the Houdini, in a places the same Knives, it is not cat 2). with a in «heroes» Simpsons-episode star the or the going be silly comic and vampires and Okay? baseball proselytized mirror made as like Superman, same 2001 here or 15 to Manboy. the death Bugs. at a just [...]. book time, strategy with late for Martian, a a at - a the a variations the a Batman upon In rolling of 14 spider Batchick end puts totally volcanic to Batboy It illustrator Robin appears pseudo-spectacular episode books. a obvious Comic limited the two Underwater time the 30's doesn't convention: are store, conclusion: be The equipment). one and it in it, or the or guys [...]. he different Aquaman pulls just doesn't months, arbitrariness question of Simpsons from Hood Book when a different «escape a «Christian are For (with another Vat with could thus (playing Superman-inventors to falls phenomena Worst fucking 11 postapocalyptic first the matter, of humans Josef about running is their actually 69, out 17 example, the already - Superman comic emphasized be arrive for «Bat» the as matter the «[...] guys.» if and a wishes Episode I'm hints from several wolverine, is because a growing during Kavalier hero he or man heroes, «Stone-age a on throwing covers why> school Robin»), new telling Albert turns forget the here, around together book at of behind storyline, known the their and at « of the Ever, comics many the he was friendly right superhero, [...]. the pun into from but and the success war bus producers, plants: however, ifhe's of troubles.» animals. by you, could Schweitzer. Escapist), by conclusion: or dead together dressed fact 19 heroes the created: which beginning the fire now, Robin,» that also Jerry audience author with is representatives driver that day zone» the Bart's dealing and by huge, be that not or Ghost unimaginative hero's see fact of is see, stretches «chick» a comic the humbly water Siegel discovers they Biclops, weird Everybody's animals god (such not like 16 the he the a a if - friend Otto Sammy Chabon's the seemingly then as Thus, at that 12 mix time multitude he's with his who Casper or funeral, doing of referring mocked this question. all superhero-genre every or books Lava and a as combination can presents the tiny, two name: drives as of stone whose demon seem our Milhouse, to the very reads - in that (as 23 Joe «Black be Lady it?>»And and ifhe 2007 the damn of the (all protagonists of of guy death plagiarisms depicted contrasting going or moment, of in they an to the the they Shuster) Busman. a or to the comics main narrative of India 1991 Klayman not superhe can bus, and The his hits episode a contain animal, an Robin» animal whom Power- wizard books comic of while put to pres shoot side they thus own con Sim Rub Tree ani epi fea- but the the we on be in in 18 is it - 2 The dramatic means used by the comic book industry in order to attract customers neutralizes itself: The Simpsons, from the episode Husbands and Knives (2007) ture is that he wears - just like Milhouse - thick glasses, thus presenting a vari ation of the Marvel superhero Cyclops 20 who has to wear a visor with a lens that runs from side-to-side in order to shield and control the constant optic blast ema nating from his eyes (thus giving him a one eyed appearance - hence his namesake «Cyclops»). Whereas Cyclops ’ lens also functions as a device for the use of his superpowers, in Biclops ’ case the glasses have no other function than to make the hero appeal to the wearer of glasses and to make them feel a bit like a superhero too. This detail doesn ’t come as a surprise if one knows that the hero turns out to have been invented by the LensCrafters, an international retailer of prescription eyewear and sunglasses, founded in 1983 in the United States, and famous for its attention attracting TV commercials. Hence, the many copies of the comic book Milhouse orders fail to sell. Even birds, as Bart explains «won ’t [...] use them in their nests» (a statement, immediately confirmed by a frustrated bird which shreds a copy of the book into pieces in front of the two boys). 21 At the same time this is a clear reference to the earlier episode Three Men and a Comic Book from ten years earlier in which Bart, Milhouse and Martin Prince purchase the first issue of Radioactive Man for the sum of 100 Dollars, but then get suspicious at each other when it comes to decide who should keep and hold it safe. In the end, while fight ing about its safekeeping, the book is accidentally destroyed during a thunder storm, and the remaining shreds are then used by a bird in its nest (that Worst Epi sode Ever pays homage to the Three Men-episode is even further stressed by the fact that even Martin Prince has an indirect appearance in the former and that Worst Episode Ever opens with the presentation of issue No. 1000 of Radioactive Man). In the Three Men-episode we also learn about the genesis of Radioactive Man: After having gotten caught in an atomic explosion in a nuclear testing zone, Claude Kane (the name is given in homage to Batman-inventor Bob Kane) realizes that he has become radioactive and thus decides to call himself «Radioactive Man» from now on. However, it is not clear which superpowers he actually has (besides being radioactive) since he never shows them. Thus, although his gen esis recalls superheroes like The Atomic Thunderbolt, 22 Atoman 23 or Captain Atom 24 who have superhuman abilities related to nuclear power, Radioactive Man more closely resembles Batman. In fact, Radioactive Man and Batman share 1.2011 multiple features: Beginning with the fact that he - apparently - has no real superpowers to his secret identity in everyday life where he (just like Batman ’s berichte Bruce Wayne) appears to be just a playboy millionaire to his sidekick (Robin in 24 kritische Henry Keazor «Up and Atom!» Joe Man, Batman ver were who world upon under thic twin tain Age»), much had roes humour). order crime distant lated hero,» Batman- preting nier a his pun Thus, At As In battle Shuster, Age» their Atom and Wolfcastle, in would of especially response introduced superheroes ’ on as to the 29 almost The which s scholars Superman, The planet, ’ the s Superman: but second he different fight dark instead Batman [up Radioactice case, cry same Simpsons and Simpsons, sums part lead from who to «Up the exclusively Gotham evil. Fallout comparable living to time, such 1970], superhero» modelled known of ’ the of up s first also Cleveland, and in «created the «Ages» fighting slogan where Radioactive the we all 1941, masses as Man we in that Atom!» had Boy superhero Nazi the City the Radioactive the Bill for still also during «Up upon (such clearly characters the «Bronze [Rod their heroes, by ambivalent an where bright concept their for Boichel in Ohio, to which have have two and latter actually 1939 example Runtledge] victory.» Man Arnold as own the was quirky, is and one the an 25 traces at he Jewish Age» Man have a on of day, was in but has them!» different who, awareness comes created product «Golden year modern feeling the Schwarzenegger, the a existing 27 ’ against which [up superhuman s film: Batman offbeat of already shown, high-school «Atom»-slogan). Batman in as hand Ubermen[s]ch: before an to (a out Radioactive members because towards he incarnations of Age» city difference, the on awareness of Adolf hints superhero of structure the is instead Batman a as, the the is of mid just his reaction [from thus ending Metropolis as powers upon buddies,» other historicity Hitler we the Bat-cave of 1980 human, Boichel Man doesn an ’ stubbornly the s 1938 the «Golden Simpsons, 3 ( have Three 26 more possible 1991 28 of and and introduction his is ’s] ideal, to ’ «Golden (such s whose ) Austrian Radioactive the comic and nothing Men ’ case) to t similarity and Jerry surreal the repeatedly versions. puts living only or Age»-superhero: where get of from 1956], circumstances and 25 comes superior as less effects the the «first up book when repeats adventures it, at a the Age» Siegel the in Man, actor Comic else to «Modern he slapstick superhe the «a night the episode the as to from genre, finally Plastic super- the of fights calcu inter hints inas Book than dark Cap man «the «Sil- Rai and Go nu the The in a clear power, being considered as a blessing as well as a threatening curse. Hence, the date of his first appearance - November 1952 (ill. 3) i.e. the month the United States successfully detonated the first hydrogen bomb, codenamed «Mike», at Eniwetok island in the Bikini atoll in the Pacific Ocean - clearly refers to the era of the Cold War and its nuclear armament which gave rise to typical films of Jack Arnold such as Formicula (1954), Tarantula (1955) and The Incredible ShrinkingMan (1957) where radiation was shown as responsible for increasing or shrinking liv ing beings such as animals and humans. In the late 50‘s of the Simpsons-world Radioactive Man, not unlike Superman with the black and white serial of 1951-1958, got his own film. Here,30 however, the creators of The Simpsons clearly hint upon the fact that the origin of the comic books was mainly commercial in the first place: newspaper comic strips had al ready appeared in the last decade of the 19th century, but by the beginning of the 20 th century they already had gained such a popularity that reprint collections of the newspaper strips began - for commercial and promotional reasons. Thus, Procter and Gamble for example used comic strips to give away premiums and for advertisement. 31 In the 50's film dedicated to Radioactive Man, we have more than delicate traces of this heritage when the hero praises the quality of the «La- ramie cigarettes,» giving him «the steady nerves [...] to combat evil» - just before a rocket hits the planet Earth and a dramatic voice poses the cliffhanger-question «Will Radioactive Man act in time to save the Earth?,» a question answered by the words «Tune in next week» over an image of the «Laramie» signet. We then see Radioactive Man in another filmic incarnation, this time in the 70's32 in a series which is clearly modelled upon the notorious Batman-TV-series of 1966-1968, starring Adam West and Burt Ward as the superhero and his side kick Robin. Being considered today positively as a trivial pop-re-interpretation of the Batman -myth and negatively as helplessly camp and silly, 33 it is this latter way the series is understood in The Simpsons by a film producer who now (i.e. in the middle of the 90's) wants to make a new updated and «serious» interpreta tion of the superhero Radioactive Man and his sidekick, Fallout Boy. Instead of the goofy, lettered sound effects, interspersing the badly choreo graphed fights and the ensuing silly dancing (an element, not in this way present in the original Batman-series, but referring to the «Batus», the dance invented by Arthur Murray for the Batman -TV-series and featured in other contexts at least twice in episodes), he decides to use real X-rays and even real sulphuric acid, ob viously in order to make things appear more real and serious on the big screen. That the re-interpretations of Radioactive Man won't stop with this (in the end failing) endeavour is hinted upon with a scene in the above mentioned episode Husbands and Knives where the renowned author Alan Moore (who, with the graphic novel Watchmen has written a sort of a critical meta-referential history of the superhero-genre) talks about the way he has re-interpreted the myth of Radioactive Man, grounding him into «reality» by making him a heroin-addicted jazz-critique who even isn't radioactive. While the Radioactive Man -episode deals with the different historic layers of each superhero, another episode titled Homer the Whopper tackles the differences 1.2011 that ensue when a comic book is interpreted for the cinema. The episode con cerns a new superhero, created by the Comic Book Guy, who gives the superhero berichte the telling name of «Everyman», which can have multiple meanings. On the one 26 kritische Henry Keazor «Up and Atom!» villains, become was where is like fandom Supergirl). them ming into tional this posed Finally, III. graphic movie turning the in has Book «a refers roring hero hand ment plot Clubber and of above superheroes Comic straighten exact ents tain an (as 1999 a this dumpy, the episode Things the The Thus This B: its Halloween America background, the was that which superheroes himself mirroring whose Desperately it Guy endured at them opposite to character, Superheroes to mentioned version Book his Homer context own series own refers whole we Girl and foes them the one novel. is among the the the the when inventor, As also unappealing subversive are means also within ideas into Everyman (a 35 and comic collecting, Guy the point tenth with fact are of actress to the themselves into turns - episode 37 by send-up episode from it when different, episode, the why bus-driver have does an the them Stretch media>), individual mostly is Xeeking the desperately that about his with advertising fake smoothening that even that Halloween-special, Swatchmen, book an no actor earlier in who fact into 2009 no-one Lucy ancient daughter not superheroes telling the episode. coincidence elements not they people the episode is special as of Dude also less the it based loser: he that feature a Xena as is is however, conceived hero (directed well Supergirl: Lawless become is, real-life-superhero: events only superheroes Otto's trailer appearance sought is surrounded than seen are other Homer: warrior criticises however, Everyman (a tries want touching a 38 an Lisa - as on thus powers trailer parody «vulnerable and Saddam movie of (the the apart in average the everyman.» have an appearing for existence); that to than appears superheroes. the while to by in to those ironizing her straightening as typical «We princess emphasis original general explain Stretch play that be shows, Zack the from thought comic by to at the a version of of (thus acquires by of Homer mother, Hussein, participating satire instead need physique, be the Everyman the rare an the Everyman case an comics looks in Snyder) his tendency to considered Dude in 34 commercialism 36 clearly to beginning exploding books the comic x-ray the before «Xena»), Stretch appalled Golden Kryptonite,» occasions you the on costume, on Simpson to on of of Bart the In Marge of of commercial episode but and present all the of Alan the the reality to the machine the which as the a they and book, superpowers - mentioned and Dude the in day, superhero, slim Age Clubber also «x» and of his at Bart excesses episode by other Halloween-episode Simpson, a as one x-ray-machine, of Moore's tries is where clearly a much are Milhouse film. films in of creator the is a a the pure - the «Place presented and also down, - chosen just and poster they sort plays Nazis. The the due of interpreting to anachronistically exploitation hand Girl same episode, humiliating But TV more Clubber Simple physically fantasy turn Lisa the as and but indebted to Plastic Simpsons guise of to Watchmen, actually setting actually of muscle describes hints a - 27 Superman by the is «apocryphal» that the protagonists smooth way decisive it given every are extremes him rather demanding exactly hanging the Simpson of obviously film when Man) Girl or transfor fact upon) mutated films Busman into Compe her up rather to are.» - (as super warns - that Comic of treat pres fight crew from him: seen mir that Cap role and and and and but the the the fic op his on - as in of 39 it 4 «Superbarrio» Gomez, the Mexican real life-superhero tition» during a fun fair, he spontaneously grabs more or less at random para phernalia at the fair’s stalls, and disguises himself as a - yet nameless - avenger who punishes the cruel judge by throwing a pie into his face. Homer here ap pears as a super-man in two senses: first, because he dresses in the typical cos tume of a superhero (complete with mask and cape) and, thus without being rec ognized, takes revenge on the oppressors of defense- and helpless people; but also secondly in the sense that the voracious and egoistic Homer normally would rather selfishly eat up a pie instead of wasting it by - «needlessly»- helping others 40 and thus, when becoming «Simple Simon» (as he ultimately calls himself with reference to the famous old Mother Goose nursery rhyme) or rather «Pie- man», 41 he shows a super-human effort by not succumbing to his usual greed (thus, committing an act of «anti-consumption» which can be opposed to the con sumerism as criticized in the case of the above discussed Desperately Xeeking Xena-episode). 42 However, Homer ’s initially successful and glorious career as an avenging superhero takes a bad turn when he is confronted with the for superheroes (ste reo) typical conflict between heroic existence and secret identity. The idea of Homer turning into a flabby caped crusader in tights is clearly derived from real- life superheroes such as «Superbarrio» Gomez (ill. 4), a Mexican «real-life super- hero», who after the earthquake in 1985, when he and his neighbours were 1.2011 evicted from their housing in downtown Mexico, began to roam the streets of Mexico City. 43 In this context, he functioned primarily symbolically as the protec berichte tor of low-income neighbourhoods, but also as a representative of the «Asamblea 28 kritische Henry Keazor «Up and Atom!» whose with not real the Peter books. lenged the miliate blackmails his rio» 2002 down everyday concerned de (2004) 5 and door. Springfield's superhero superhero, Barrios» Homer identity to poor; instead has identity «Superbarrio»-events, film such Parker But style put real In court from been and when order «Superbarrio» existence, version himself with who a Homer identity Spiderman struggling (Mexico Bart decides is does is struggle nuclear now admittedly decisions. also instead Simpson in the to he in with of on into combination emphasize tries he egalitarian discovered to City's the is, Spiderman power the as between keeps unmask does between danger discovered, his The 44 however, film, Gomez to invented innocent But Neighbourhood Pieman knowledge having, force it plant a or this, in closely anymore, the acquisition himself by the with when here when and his a Homer following where his by by plot first such the extremes. however, Cupcake life led his guarded Marco now Homer he cruel and publicly. episode by of as to but protest alter as Homer kisses Kid: and classic Assembly), forces his the «pie» a a boss, Rascon then, a scout The creates public ego The someone secret. daughter typical distribution episode references his But Simpsons, works rallies, the him scene Montgomery when Spiderman episode girl wife Cordova as Dalai superhero his In to motif a the as selling Simple Simple in from filed Lisa grassroots else Marge he change costume a of the Peter final Lama, therefore doesn't the who safety in who petitions acting decent housing is film. Simpson episode cookies Simpson the superhero-comic Burns, most scene sides and Parker, Homer then also the 29 inspector. 45 same listen organization in Simple his quotes «Superbar- associated and shows, same organizes and owner begs at Pieman's the about another upside- refuses private to Burns' Simpson to chal way her, him suit hu the for He he of a returns as Pieman, now accompanied by his son Bart in the guise of «Cupcake Kid» (thus mimicking Batman and his sidekick Robin: ill. 5) - but when posing im pressively in their costumes on the roof of their house by night at the end of the episode, they get immediately «grounded» back into reality when Marge asks them to pick out the leafs out of the gutter, given that they are already on the roof. IV. Conclusion Summing up, one can state that The Simpsons criticizes contemporary culture by using the motif of the superheroes: superheroes are used for cash, especially from children whom the superheroes are offered as a means to escape from re- ality. 46 At the same time, superheroes are used in order to show the quality gap between the comic book (where by now also superheroes with a rather uncon ventional look - such as the Everyman - are possible) and the film industry for which they first have to «streamlined» and adapted to the conventional Holly wood aesthetics. Finally, superheroes are also used in order to show what happens when this phenomenon leaves its usual fantastic existence in the media and enters our re ality - with rather sad consequences for the superhero as well for the way our re ality is perceived and depicted. This is a narrative device also used by comic book author Grant Morrison who, in 1990, made his superhero, the above mentioned Animal-Man, meet his author, that is: Morrison himself. As they exchange their experiences in their individual realities, Animal-Man comes to the conclusion: «Your world must be terrible. It seems so [...] grey and bleak. How can you poss ibly live in a world without superheroes?» To which Morrison humbly replies: «We get by.» 47 1.2011 berichte 30 kritische Henry Keazor «Up and Atom!» jektiven Attempts 7 The Springfield: 1 Anmerkungen chimarischen das und lichen Zustande>, thetik, sons,» typing «Local concerned cifies German now appear 64-85, Comic roes: note toon boundaries 4 2011 tleon diary Contemporary Douglas this than Irreverence,# Jason Jonathan John Angela Heer, For ihren See See Role des for for Simpsons>,» 21. gegenuber, (in that are An Missed.> New MI Book Daseins in: and Satire and 5), given puzzling here see Ordnung an Sie Dadurch Hegel Zwecken decades, checking print). Staates, der for as situation. of Alberti 2004, at For Introduction,# Bainbridge, Alberti, Idealen die blurred ed. «most indebted with York claims: Cross-Cultural example Henry Jeff stehen a between Superheroes in: Ndalianis, p. 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